Brazilian Music: Panning For Gold

Panning is the act of placing or moving a sound anywhere in the stereo field of a stereo playback system. With panning, sound sources can be placed in a way that they are perceived as coming from the left speaker, the right speaker, or from anywhere in between. This available area of sound placement, spanning from left to right, is known as the stereo field.

Brazilian music is rich in its ability to mix tradition and modernity, tapping into both national and regional traditions. Samba, for example, originated in Africa as the music of former slaves and African religions but has become an icon of Brazilian national identity.

Brazilian music has also been described as an isolated island that takes other genres such as pop, funk, and rap and gives them a Brazilian makeover.

Panning is an important element of mixing that affects how music sounds on different playback systems. It creates space for each element in the mix so that everything can be heard by the listener.

Samba's African origins

Samba is a broad term for many of the rhythms that compose the better-known Brazilian music genres that originated in the Afro-Brazilian communities of Bahia in the late 19th century and early 20th century. It is considered one of the most important cultural phenomena in Brazil and one of the country's symbols.

The word "samba" was originally used to designate a "popular dance". Over time, its meaning extended to a "batuque-like circle dance", a dance style, and also to a "music genre". The name is probably derived from the Angolan word "semba", a type of traditional African dance in which a man and woman face each other and invite each other to dance. The man then pulls the woman towards him suddenly, provoking a "choc" (collision).

Samba de roda and partido alto were two early northeastern forms of the genre that arrived in Rio with migrants from Bahia State in the latter half of the 19th century. The lundu, modinha, maxixe, choro, and marcha are five other influential antecedents to the samba carioca (Rio samba). Of these, the lundu and maxixe are the most direct precursors to the modern samba.

The lundu was an Afro-Brazilian dance and music style that featured the semba manoeuvre. It was considered the first black music to be accepted by Brazilian society and entered the Portuguese court by the end of the 18th century as an elite style with guitar or piano accompaniment. The maxixe couple dance emerged in Rio around 1880 as a blend of the lundu with the European polka and Cuban habanera. Many of the earliest recorded samba songs are rhythmically based on the maxixe.

Samba includes rhythms from Portuguese military band music, and native South American folk music. The native folk music of the indigenous South American Indians, including that of the Amazon tribes, was absorbed naturally into Samba, as the new music developed. Much of the early folk music used simple large log drums and smaller frame drums and had repetitive drumbeats, similar to those played in modern Samba today. The native music was accompanied by unison singing and melodies played on wooden flutes.

The strong African musical influences in Samba grew out of the drumming that accompanied the traditional African dances that were performed during ceremonies such as coming-of-age rituals. Samba is also heavily influenced by the traditional Samba de Caboclo, which is rooted in the Afro-Brazilian Candomblé religion. The two main African cultures represented in Brazil are the Yoruba and Fon of Nigeria and Benin, and their influence dominates in the Candomblé religion; and Bantu Africans from the Kongo-Angola region, who gave birth to the martial art/dance of Capoeira and to Samba, among other manifestations.

Samba is perhaps most famous for the integral part it plays in the carnivals that take place once a year between February and March. Samba schools, which refer to the fact that early samba groups used to rehearse in the local school yard, can number as many as four thousand people, with dancers in elaborate costumes and up to three hundred musicians.

Samba's evolution in Brazil

Samba is a broad term for many rhythmic variants of Brazilian music and dance, which originated in the Afro-Brazilian communities of Bahia in the 19th century. Samba is recognised by UNESCO as an "Intangible Cultural Heritage of Humanity".

Samba's roots in the 19th century

The word "samba" is thought to derive from the Kimbundu (Angolan) term "semba", which means "invitation to dance". It is also thought to come from the Quimbundo language, where "sam" means "to give" and "ba" means "to receive".

Samba has its roots in the African and Indigenous folk traditions of slaves in Bahia. The dance parties of the black slaves in Bahia were originally called "Samba". Samba de Roda, which originated around 1860 in Bahia, is considered the most traditional form of Samba. It is closely connected with the cult of the Orixás and Caboclos and with Capoeira. Samba de Roda was recognised by UNESCO as an Intangible Cultural Heritage of Humanity in 2008.

Samba in the 20th century

By the early 20th century, Samba had evolved in Rio de Janeiro and was associated with the city's Carnaval. Samba gained influences from Brazilian predecessors such as the Maxixe and the Marcha, as well as the Cuban Habanera and German Polka. Samba was extremely popular at the turn of the century, with early recordings dating back to 1911. The song "Pelo Telefone", recorded in 1916, is considered the first Samba in Brazil.

In the 1920s, the first few Samba schools (Escolas de Samba) were established, and the Rio de Janeiro carnival gained momentum. Samba also began to gain popularity worldwide, with performers such as Ismael Silva, Mário Reis, and Carmen Miranda.

In the 1930s, Samba-Canção emerged as a slower and more romantic subgenre, with lyrics focusing on themes such as love, loneliness, and "dor-de-covelo" (suffering). Samba-Enredo also emerged in the 1930s, created especially for the parades of the Samba schools during the carnival.

In the 1950s, Samba acquired a slower and more romantic sound, giving rise to the subgenre Samba Canção. This style emphasised melody over rhythm and maintained the Samba beat with drums. Samba also began to incorporate more contemporary influences, with the emergence of Samba-Reggae and Samba-Rock.

In the 1960s, Samba experienced a divide between the original romantic musical movement and a new political protest movement. In the 1970s, Samba saw a rise within the era of MPB (Música Popular Brasileira), with artists such as Milton Nascimento modernising the Samba style with contemporary harmony and instrumentation.

In the 1980s, a new development of the genre began to emerge in the state of Bahia, with artists in Salvador creating a new percussive style that reflected the ideology of Brazil's African Diaspora. This new style fused with Jamaican reggae and became known as Samba-Reggae.

Samba in the 21st century

Samba continues to evolve in the 21st century, with new artists such as Seu Jorge and Jair Oliveira, who fuse classic Samba with contemporary influences. Samba remains a symbol of Brazil and is considered the joyful, lively, and rhythmic dance of the country's carnival.

Samba's role in Carnival

Samba is a core part of Brazil's cultural heritage and is central to all the traditions seen during Rio Carnival. Samba music is famous for its rhythmic beats and catchy rhythms, and its dance form evolved from the African slaves that brought their music, dance, and rhythmic drumbeats from Africa. Samba is something that brings all Brazilians together, no matter their economic class.

The Rio Carnival Samba Parades are known as the 'Greatest Show on Earth' and are the result of a year's worth of hard work, dedication, and passion. The parades are a one-of-a-kind experience, with visitors from around the world flocking to Rio for a week of dancing, singing, and partying.

Each samba school presents a theme that is portrayed by a team of musicians, samba dancers, and well-decorated floats. The samba schools start planning their program for the following year as soon as the Carnival is over. Musicians, architects, fashion designers, and choreographers work throughout the year to present 70 minutes minimum up to 80 minutes maximum of mind-blowing samba mania.

The samba parade conducted at the Sambadrome is made up of competing schools, and each school's routine is made up of a number of elements that form the basis on which the individual school's performance is judged. The Carnival King or "Rei Momo" inaugurates the Carnival celebrations, and a number of women compete for the title of Carnival Queen, a beautiful, confident, and superior samba dancer who embodies the spirit of Carnival.

The samba parade is a highly orchestrated event, with each individual having a particular role to play according to the school's theme. The Flag Bearer or "Porta-bandeira" who carries the school's flag and her symbolically appointed protector or "Mestre-sala" are usually the most highly skilled dancers. The Queen or "Rainha" of the Samba school leads the procession in her elaborate costume.

The bateria or drummers are at the heart of the samba parade, providing the much-needed energy for the samba dancers. The echoes of the drumbeat within the Sambadrome are enough to keep even the spectators dancing all night long. The drummers are led by the Queen of the Drummers, a beautiful samba dancer who introduces the drummers to the crowd and motivates them all the way down the samba strip.

The Passistas or samba dancers dance the entire length of the samba strip. This group of 15-20 dancers is chosen through a competition each year and has the honor of representing their samba school.

Samba is an integral part of the Carnival celebrations, and its role cannot be overstated. The music and dance form bring people together and create an atmosphere of joy and celebration that is unique to Brazil.

Bossa nova's emergence in the 1950s

Bossa nova emerged in the late 1950s and early 1960s in Rio de Janeiro, Brazil, as a new style of samba with strong American jazz influences. The name, which means "new wave" in Portuguese, was first used in 1957 to describe a concert by the Grupo Universitário Hebraico do Brasil.

Bossa nova was developed by middle-class Brazilians who were exposed to North American music and film. It combined samba and jazz, with a particular focus on the guitar. The style is characterised by a calm, syncopated rhythm, with chords and finger-style mimicking the beat of a samba groove. Bossa nova songs often had lyrics about youth, romance, beach culture, sensual pleasure, nature, love, longing, and homesickness.

The first bossa nova album, "Chega de Saudade", was released in 1959 by João Gilberto, featuring the tracks "Chega de Saudade" and "Bim Bom". This album is considered the landmark of the birth of bossa nova. Gilberto's innovative guitar style and soft vocals set a precedent for the genre.

Other important figures in the emergence of bossa nova include Antônio Carlos Jobim, a composer who collaborated with Gilberto on several songs, including "The Girl from Ipanema"; Vinícius de Moraes, a lyricist who wrote the lyrics for "The Girl from Ipanema" and "Chega de Saudade"; and Luiz Bonfá, a guitarist and composer known for his work on the "Black Orpheus" soundtrack, which brought bossa nova to international audiences.

Bossa nova gained popularity in the early 1960s, with a concert at New York's Carnegie Hall in 1962 and the release of "The Girl from Ipanema" in 1964, which became the world's second most-played song.

Bossa nova's international popularity

Bossa nova, which means "new wave" in Portuguese, emerged in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is a relaxed style of samba characterised by calm, syncopated rhythms, complex chords, and "ambiguous" harmonies. The genre synthesised samba's rhythm with the classical guitar, with João Gilberto extracting the "bossa beat" from the traditional samba.

Firstly, bossa nova's distinctive rhythm, lush instrumentation, and themes of youth, leisure, and natural beauty captivated American musicians and audiences. The song "The Girl from Ipanema" ("Garota de Ipanema"), a collaboration between João Gilberto, his then-wife Astrud Gilberto, and jazz saxophonist Stan Getz, became a worldwide hit, winning a Grammy Award and breaking the true bossa nova sound into the global mainstream. Astrud Gilberto's wispy yet beguiling voice transformed her into an international star, and the song is considered one of the best-selling jazz records of all time.

Secondly, the optimism and national pride of the Juscelino Kubitschek presidency in the 1950s provided a favourable cultural backdrop for bossa nova's emergence. The middle class had increased buying power, and the music industry was able to expand, allowing bossa nova to gain traction.

Additionally, the genre's popularity was bolstered by the influence of North American music and movies on its musicians and fans. The criticism that bossa nova was too influenced by American jazz and pop led to a debate about Brazilian nationalism and the role of apolitical art forms. However, it also sparked interest from American musicians, who were intrigued by the delicate melodies, lush harmonies, and syncopated rhythms of bossa nova.

The international success of bossa nova also owes much to the contributions of key figures such as Antônio Carlos "Tom" Jobim, a classically trained pianist, guitarist, singer, and songwriter. He composed music for the 1956 play "Musicas De Orfeu Da Conceição", written by poet and playwright Vinicius de Moraes, which inspired the award-winning 1959 film "Black Orpheus". Jobim's fame grew rapidly, and he collaborated with Gilberto on several influential bossa nova albums.

The genre's popularity in the United States was further enhanced by a concert at Carnegie Hall in November 1962, featuring bossa nova progenitors Jobim, Gilberto, Bonfá, Roberto Menescal, and Carlos Lyra, alongside American jazz musicians Getz, Byrd, and Lalo Schifrin. The success of this concert inspired a wave of jazz musicians, including Dizzy Gillespie, Quincy Jones, and Oscar Peterson, to embrace the Brazilian sound.

In summary, bossa nova's international popularity can be attributed to its unique sound, talented musicians, and the cultural and political climate of the time. The genre's blend of samba and jazz, its themes of youth and leisure, and its association with optimism and national pride, all contributed to its widespread appeal beyond Brazil's borders.

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